杰夫·沃尔（Jeff Wall）
简历
杰夫·沃尔（Jeff Wall）1946 出生於加拿大温哥华，现生活工作于温哥华。
个展 （节选）
2002 曼彻斯特城市画廊（Manchester City Art Gallery）
2003 维也纳当代美术馆（Moderner Kunst Stiftung Ludwig, MUMOK, Wien）
2004 奥斯陆现代美术馆（Astrup Fearnley Museet, Oslo）
联展 （节选）
1982 第七届卡塞尔文献展
1987 第八届卡塞尔文献展
1997 第十届卡塞尔文献展
2002 第11届卡塞尔文献展
2004 上海双年展
杰夫·沃尔——1978-2004
展地，瑞士巴塞尔Schaulger美术馆
艺术家作品
Trân Dｕc Vａn 1988/2003
Transparency in lightbox 2900 x 2290 mm
Carnegie Museum of Art, Pittsburgh; A.W. Mellon Acquisition Endowment Fund and Gift of Milton Fine
Volunteer 1996
Silver gelatin print 2215 x 3130 mm
Emanuel Hoffmann Foundation, permanent loan to the Öffentliche Kunstsammlung Basel
Mimic 1982
Transparency in lightbox 1980 x 2286 mm
Courtesy of the Ydessa Hendeles Art Foundation, Toronto
Morning Cleaning, Mies van der Rohe Foundation, Barcelona 1999
Transparency in lightbox 1807 x 3510 mm
Collection of the artist, on permanent loan to the Museum fｕr Moderne Kunst, Frankfurt am Main
A Sudden Gust of Wind (after Hokusai) 1993
Transparency in lightbox. 2500 x 3970 mm
Tate. Purchased with assistance from the Patrons of New Art through the Tate Gallery Foundation and from the National Art Collections Fund 1995
Katsushika Hokusai Ejiri in Suruga Province
(Sunshû Ejiri) 1830-33
Colour woodblock print, Japan
From the series Thirty-Six Views of Mt. Fuji
The Destroyed Room 1978
Transparency in lightbox 1590 x 2340 mm
Insomnia 1994
Transparency in lightbox 1722 x 2135 mm
Hamburger Kunsthalle, Hamburg
Milk 1984
Transparency in lightbox 1870 x 2290 mm
Collection FRAC Champagne–Ardenne, Reims
An Octopus 1990 (right)
Transparency in lightbox 1820 x 2290 mm
Collection Fondation Cartier pour l'art contemporain, Paris
Some Beans 1990 （left）
Transparency in lightbox 1820 x 2290 mm
Goetz Collection, Munich
Detail from Some Beans 1990
Detail from An Octopus 1990
Odradek, Tａboritskａ 8, Prague, 18 July 1994 1994
Transparency in lightbox 2290 x 2890 mm
Museum fｕr Moderne Kunst, Frankfurt am Main. Acquired with funds of the Stadt Frankfurt am Main, the Hessischen Kulturstiftung and a donation by Dr. Karl-Heinz Heuer, Frankfurt am Main
This major retrospective of the work of Canadian photographer Jeff Wall brings together over fifty stunning works produced between the late 1970s and the present day, providing an overview of his entire career. Wall has exhibited his photographs internationally for the twenty-five years and is one of the most intriguing and influential artists working today. He has also played a key role in establishing photography as a contemporary art form.
Included are iconic works like A Sudden Gust of Wind 1993, Milk 1984 and Trân Dｕc Vａn 1988–2003, as well as lesser-known photographs which have rarely been exhibited in this country. Developed in close collaboration with the artist, this is the most comprehensive survey of his fascinating career to date, to take place in the UK.
The exhibition was created by Schaulager Basel in collaboration with Tate Modern, London. The London exhibition was curated in collaboration with Jeff Wall by Sheena Wagstaff, Chief Curator, Tate Modern, and Vincent Honorｅ, Assistant Curator, Tate Modern
Picture for Women was inspired by Edouard Manet's masterpiece A Bar at the Folies-Bergｅres (1881-82). In Manet's painting, a barmaid gazes out of frame, observed by a shadowy male figure. The whole scene appears to be reflected in the mirror behind the bar, creating a complex web of viewpoints. Wall borrows the internal structure of the painting, and motifs such as the light bulbs that give it spatial depth. The figures are similarly reflected in a mirror and the woman has the absorbed gaze and posture of Manet's barmaid, while the man is the artist himself. Though issues of the male gaze, particularly the power relationship between male artist and female model, and the viewer's role as onlooker, are implicit in Manet's painting, Wall updates the theme by positioning the camera at the centre of the work, so that it captures the act of making the image (the scene reflected in the mirror) and at the same time, looks straight out at us.
The seam running down the middle of the photograph is apparent in some of Wall's large-scale pictures, where two pieces of transparency are joined. The fact that it serves as a reminder of the artifice of picture making is something that Wall has come to appreciate: 'The join between the two pictures brings your eye up to the surface again and creates a dialectic that I always enjoyed and learned from painting... a dialectic between depth and flatness. Sometimes I hide it, sometimes I don't, he has said.
Picture for Women 1979
Transparency in lightbox 1425 x 2045 mm
Collection of the artist. Courtesy Marian Goodman Gallery, New York
Young Workers 1978/1983
8 transparencies in lightboxes,
each 1015 x 1015 mm
Steves Farm, Steveston 1980
Transparency in lightbox 580 x 2286 mm
Frac Nord–Pas de Calais, Dunkerque, France
The Old Prison 1987
Transparency in lightbox 70 x 2285 mm
Restoration 1993
Transparency in lightbox 1190 x 4895 mm
Museum of art, Lucerne
The Bridge 1980
Transparency in lightbox 605 x 2285 mm
Friedrich Christian Flick Collection
Tattoos and Shadows
Transparency in lightbox 1955 x 2550 mm
Courtesy the artist. Cinematographic photograph
Edouard Manet Dejeuner sur l'Herbe 1863
Oil on canvas
The Storyteller 1986
Transparency in lightbox 2290 x 4370 mm
Museum fｕr Moderne Kunst, Frankfurt am Main
Dead Troops Talk (A vision after an ambush of a Red Army patrol, near Moqor, Afghanistan, winter 1986) 1992
Transparency in lightbox 2290 x 4170 mm
Mr. David Pincus
A ventriloquist at a birthday party in October 1947 1990
Transparency in lightbox 2290 x 3520 mm
Collection of the artist. Courtesy Marian Goodman Gallery, New York
拿著相机说故事的人——杰夫·沃尔
文／王焜生
美国小说家艾利森（Ralph Ellison, 1914-1994）於1952年出版了《隐形人》（Invisible Man）一书，揭发了美国黑人在白人文化中被歧视，生存的价值被主流文化所淹没。2002年艺术家杰夫．沃尔（Jeff Wall）以此小说的精神为题材所创作的《开端，艾利森的「隐形人」之後》（After Invisible Man” by Ralph Ellison, the Preface）於德国卡塞尔第11届文件展中出现。虽然只是一张简单的摄影图片，却无声胜有声的道尽种族歧视的问题，即使小说被誉为世纪之书、即使社会大声疾呼仍然改变不了黑人在西方世界的命运。
《开端，艾利森的「隐形人」之後》的画面是一个独自坐在地下室的黑人，房间内有1369个电灯泡将阴暗的室内照得通明而温暖，但是观众却感受不到一丝丝的欢娱，反而是席卷而来的孤独与落寞。照片中的人物以异乎寻常的光线说服自己的存在事实，这是一种心理的安慰作用，藉以抵销现实生活的挫败与不安。
杰夫·沃尔就是这么一个以摄影来说故事的人。
现代生活的画师
艺术史的背景让沃尔不断思索什么样的创作才能真正贴近当今生活的型态，并且充分表现艺术的特色。虽然自1960年代末期他便开始摄影的创作，但是一直到1978年开始，他选择使用灯箱的特殊光线效果让摄影作品出现更具张力的视觉映像，同时将摄影以如同底片的透光方式，让图片透露戏剧的效果。1991年後，因著摄影器材的更新，他开始运用数位摄影科技创作具有全景效果的图像，并取材艺术史中的名作以摄影的方式重新演绎。
《疾风》（A Sudden Gust of Wind）灵感来自於日本浮世绘大师葛饰北斋《富岳36景》其中的一幅作品。画中的农夫被沃尔以一些上班族装扮的人物取代，地点则转换到美国与墨西哥边界的提华纳（Tijuana）小镇的郊区，画中河流蜿蜒宛如旧时农村社会，但是人物却是西装与公事包的现代打扮。一阵疾风将公事包内的文件吹起，一张张的白纸在空中飞舞，其他人则抱头屈膝躲避强风的侵袭。
我们会质问，这样的场景如何让艺术家能够轻易接触，并且还来得及按下快门？其实，沃尔大部份的作品都经过精心的设计，不论地点、时间、光线，或是其中人物。更具体的说，这是特别邀请演员演出的一场戏剧，然後由艺术家以摄影机代替电影的摄影镜头所捕捉的故事一景，因此每张图片都有如电影的单格画面，每个细节都已经设计过了。因此，沃尔作品中所出现的某一刹那虽然都是生活现实的取样，但是绝非在自然发生的情况下被艺术家捕捉到当下的一刻，艺术家将这某个特殊的时刻安排後再以摄影机拍摄下来。如果单纯称杰夫．沃尔的作品为摄影，倒不如以「电影摄影」（cinematography）来称呼其实更为贴切。
沃尔的题材选择都会包含暴力、贫穷、种族、性别以及社会阶级等问题，历史与记忆的再现也在他的作品中经常出现。他不仅仅是透过摄影机来代替艺术家陈述对社会种种现象的看法，但不热衷於实况的转播，而是集中心力将某一个关键点透过特殊的安排重现在摄影机之前，他要记录的是某一个时刻的现象与背後的种种问题，而不是将自己当作是社会新闻的摄影记者。由於这一层转换，沃尔的作品跳脱了摄影报导的范畴而进入艺术创作的领域里，作品除了社会意识的陈述之外还包含了属於绘画、摄影等创作的基本精神。
因为沃尔的创作方式不同於一般的摄影家，20多年来他的作品总数约只有120件左右。
1978-2004作品回顾
《作为一位影像摄影家，沃尔将摄影的意义扩大并且延伸了艺术创作的精神语汇。由瑞士巴塞尔Schaulager（字面意思为表演仓库）美术馆馆长费雪（Theodora Vischer）与艺术家杰夫．沃尔共同筹画的展览，由120件作品中选择了约70件依据主题分类在不同的命题下展出。透过这样主题式的安排，使得沃尔的作品呈现更强的戏剧效果，即使是一个没有人物的静谧午後阳光画面，都透露出诉说不完的故事。
所有的作品都以大型的透明灯箱装置，观众在欣赏这些作品的同时犹如驻足在每一个电影画面之前看著定格的画面，想像著故事的进行。
巴塞尔的展出结束之後，展览将移至英国伦敦的泰德现代画廊展出。
【声明】以上内容只代表原作者个人观点，不代表artda.cn艺术档案网的立场和价值判断。
